Posts Tagged ‘Olive Prince Dance’

“In watching the tide and the ocean, I think a lot about how it slowly and suddenly shifts. You have to look at it closely, but it totally changes, from the beginning of tide to the end of tide. And I hope I do that with this space.”

Olive Prince founded her dance company in 2008, and since then, has been devising, creating, and teaching highly dynamic works of art. Olive Prince Dance (or OPD) works are often site-specific, such as past productions in the Magic Gardens and in the Iron Factory. For this year’s festival, however, the show is held in the Ballroom Philadelphia, and she is working with visual artist Carrie Powell as a conceptual collaborator for the show. Carrie is building a sculpture that will create an entirely new type of space for the dance. The show, called Silencing the Tides, is a work that exists under and around a large sculpture fabricated from clothing. The show is based on the idea of free will, juxtaposed with messages and metaphors from nature. She evokes strong images of the ocean’s tide, many of the ideas growing from the feeling of sand and the changing nature of the waves. The dancers sway between working together as large forces, and breaking out into their own movements. Sometimes calm, sometimes violent, they may break down barriers as if they were bodies of water, or they may escape each other as if they were sand.

Olive and Carrie are close friends, and the idea for Silencing the Tides grew out of conversations they had together last year. “We’re both artists, and we’re both mothers, and we often spend time together with our kids talking about art.” Carrie often writes poetry and creates drawings to go along with the ideas. She started making drawings that looked like piles of laundry. They talked together and started thinking about ideas of free will, as well as the forces of nature. Olive was drawing inspiration from literature she was reading, including “The Things they Carried” by Tim O’Brien:

“They did not submit to the obvious alternative, which was simply to close the eyes and fall. So easy, really. Go limp and tumble to the ground and let the muscles unwind and not speak and not budge till your buddies picked you up and lifted you into the chopper that would roar and dip its nose and carry you off to the world. A mere matter of falling, yet no one ever fell.”

She also brought in pieces of The Venerable Bede, from 703 CE (“The most admirable thing of all is this union of the ocean with the orbit of the Moon…the sea violently covers the coast far and wide…unwittingly drawn up by some breathings of the Moon.”) as well as Johnathan White and Mary Oliver’s short story, “Swoon.” “I had this really strong image of free will,” she says, “and going against the tide, and so we started exploring that.” Eventually the conversation between Olive and Carrie became the basis of the work. These conceptual conversations combining ideas from movement, visual art, poetry, are integral to the creation of new work, and it has become a defined process that they call in-the-round reciprocity.